Softness, stuffedness presents little of the freedom from terror of the formless. It’s not rigid, no. It dangles, flops and piles up. It gives to the touch. It does not resist gravity. My practice’s emphasis on textiles and sewing would seem to locate the body of work definitively in a narrative of gendered (feminine) craft. The practice includes repetitive ‘hard’ and ‘slow’ work of sewing, stitching and stuffing for hours and hours. The making process also investigates the relationship between drawing and sculpture — by making and tailoring the pattern from hand-drawn biomorphic forms — creating interest in what occurs when a line and form become material: fabrics, pompoms and fuzzy wires. The soft works are densely placed — end up, being drooped, draped and grounded — evoking sensuous experiences during viewers' perambulations around space. It is the point where sculpture becomes installation; and installation becomes architectural. This proposes the hierarchy of art and craft, which leads the playfulness to a critical realm.
